45 Years – Review

Andrew Haigh’s sophomore feature 45 Years, following his glorious debut Weekend, is an equally as profound affair – it’s just as tender and poignant. Considering the preceding project depicted a spontaneous form of love – a chance meeting that transpired into an indelible weekend; his latest focuses in on a rather different angle: of an enduring, sustainable marriage that has lasted almost half of a century. It seems that whether it’s a one night stand or a long-term relationship, this director has a knack for portraying the subtleties of love and relationships, in a way not many are able to achieve in contemporary cinema.

Our story takes place in the week leading up to the 45^th wedding anniversary of Kate (Charlotte Rampling) and Geoff Mercer (Tom Courtenay), where the couple have planned an extravagant party for all of their close friends and family. However Geoff is distracted somewhat, when informed that the body of his first love has been discovered, after her untimely death back when the pair were dating in the ’60s. With a yearning to fly to Switzerland and identify the body, Kate can’t understand why her husband is so affected by the news, causing a rift in their relationship that comes to a head when they reach their supposed day of celebration.

Though we’ve only caught up with Kate and Geoff in the space of just this week, we feel as though we know them so incredibly well, thanks mostly to two breathtaking performances from the experienced actors. Rampling in particular is nothing short of outstanding, with such a nuanced display, and the ability to say everything without saying anything at all. The first performances that trigger the annual awards buzz falls into the lap of these two, especially in their remarkable chemistry. We’re to believe they’re a couple of 45 years – and it’s never once in question, such is their familiarity with one another, as though they possess a secret, unspoken language: the ability to communicate with just a mere glance. Kate’s reaction seems over the top initially, but given the strength in their marriage, you’re willing to listen to, and try to comprehend her anxiety. We aren’t dealing with two impetuous youths in a volatile relationship at college – like we usually see on the big screen – this is the real deal, and you treat the situation accordingly. If anything, it’s that subtlety that makes this so affecting. It’s not an overstated, melodramatic scenario of an affair, for instance, proving that, in real life, it can just be the small things.

But the majority of the credit must go to Haigh, who has structured this tale masterfully; as with each passing day we count down towards the anniversary, we see tensions mount. The filmmaker’s commitment to naturalism is unnerving, pointing towards such a prosperous career in cinema. We could well be dealing with another Mike Leigh or Ken Loach. Yes, it’s that good.